https://venice.dahvc.org/fall-2020/files/original/November_20_Galleria_Borghese_or_Pinacoteca_di_Brera/Sacred_and_Profane_Love/Tiziano_-_Amor_Sacro_y_Amor_Profano_[Galeri_a_Borghese_Roma_1514].jpg a2292fce8f059435b77959bde12d4ef0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource November 20: Galleria Borghese or Pinacoteca di Brera Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome or Pinacoteca di Brera, Milan, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sacred and Profane Love Creator An entity primarily responsible for making the resource Titian Source A related resource from which the described resource is derived Boston College. “Niccolo Aurelio.” Mapping Titian. Accessed November 16, 2020. http://www.mappingtitian.org/glossaries/22. Galleria Borghese. “Sacred and Profane Love.” Accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Jaffé, David. Titian. London: The National Gallery Company/Yale University Press, 2003. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Publisher An entity responsible for making the resource available Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Date A point or period of time associated with an event in the lifecycle of the resource 1514 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Galleria Borghese, accessed November 16, 2020. https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 118.0 x 279.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria Borghese, Rome, Italy Subject The topic of the resource Two women sit on the edge of a sarcophagus with baby Cupid in between them. Description An account of the resource This early oil painting by Titian features a pastoral setting with a lake and luscious green rolling hills. To one side we can see a church with a grand steeple while the other side is flanked by a castle-like fortification overlooking a village. In the foreground we see two women, one of whom wears a typical Venetian wedding dress while the other is draped with a sheet but largely appears in the nude [1]. The former of these two figures is proper yet composed, the depiction of “profane love.” The latter––”sacred love”–– on the other hand has one arm raised and is contorted, showing her freedom and earthiness. They sit on a sarcophagus that is ornately decorated and that has been converted into a water basin. A depiction of baby Cupid plays with the water between them. Titian employs soft hues to frame his delicate work involving the Venetian standard of beauty: a fair complexion with curly, red hair. It promotes peace and calmness in the audience. But while the majority of the piece uses these tones, they are noticeably interrupted by the harsh whites and boisterous reds of the fabrics, symbols of purity and passion. Thus, it naturally follows that this painting is a celebration of a marriage––namely one that is wholesome and pious yet powerful and strong. The coat of arms highlighted on the sarcophagus reveals that it was commissioned by Niccolò Aurelio, a powerful and elite statesman of Venice, for his bride Laura Bagarotto [2]. Bagarotto was the daughter and former wife of Paduan politicians who were executed for treason by the Republic [3]. Thus this painting, which was completed by one of the most prominent artists in Venice capitalizes on symbols typical of it, reaffirming the loyalty of the new couple to the city and projecting their power onto it. [1] David Jaffé, Titian (London: The National Gallery Company/Yale University Press, 2003), 94. [2] “Sacred and Profane Love,” Galleria Borghese, accessed November 16, 2020, https://borghese.gallery/collection/paintings/sacred-and-profane-love.html. [3] “Niccolo Aurelio,” Boston College, Mapping Titian, accessed November 16, 2020, http://www.mappingtitian.org/glossaries/22.